Writing a complimentary note pattern

K

Kubbie

DAH1
Hey guys really hoping someone here could help me with this. I'm working on this melodic deep house track and I really want to add some brass/woodwind elements (i.e trumpets or sax) as the sound works very well with the main bassline. Now, my question is what would be the best way to write a complimentary note pattern so that it isn't the same notes but still works well with the bassline. I've attached a photo of the midi pattern of the main bassline. Working on Logic in the key of D Maj at 125 bpm. Any ideas would be greatly appreciated!!

Bassline Note Pattern​
 
Kubbie said:
Working on Logic in the key of D Maj.
Click to expand...

Try arpeggiating the chord progression, using three notes, four notes, etc.
Otherwise, try doing some experimentation and see what you come up with, singing along to the track. The possibilities are endless, dude.
 
Piano roll was always difficult to look at even before learnin sheet music tbh. I wish they atleast put the note names on the note or make each note lane in them a different color ffs lol.
 
when a D is rocking in the bass, try to play the 3 or 4 on another note. If the G is going in the bass play the 1. Idk how that would sound but it's something to try.



And also, I think that might be B major not D major?


Anyhow just try accenting the 1 with the 3 or 4, the 4 with the one or 6, etc. Just combine tones of the scale to play intervals.

if you upload the bassline, we could probably help more.
 
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looks more like B major to me if the bass line is to be believed you have B - F# - D#m - B

so for each chord you are looking at

B-D#-F#-A#-C#-E-G#

F#-A#-C#-E-G#-B-D#

D#-F#-A#-C#-E-G#-B

the first three notes are the chord the next 4 notes are the 7th, 9th, 11th and 13th

playing the 7th, 9th, 11th and 13th and resolving the last three down to the root, 3rd or 5th and the 7th up to the root or down through the 13th to the 5th is usual practice in writing these types of lines

you may also want to think of using upper and lower neighbour tones (sometimes called mordants), and the various turns - upper followed by lower NT or vice versa

e.g. over the B chord

F#-G#-F# is an upper neighbour tone

D#-C#-D# is a lower neighbour tone

F#-G#-F#-E-F# is an inverted turn

F#-E-F#-G#-F# is a turn

applying the idea of the turn or inverted turn we then get lines that can run like so

F#-G#-F#-E-F#-E-D#-E-D#-C#-D#-C#-B-C#-B-A#-B-A#-G#-A#-G#-F#-etc

or

F#-E-F#-G#-F#-G#-A#-G#-A#-B-A#-B-C#-B-C#-D#-C#-D#-E-D#-E-F#-etc

then apply ideas like fatback horn writing or chordal planing (search bandcoach and fatback here at fp to find more on these ideas)
 
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Thank you all for the feed back! Found something that works well, and yes it is in B Major did not mean to type D.
 
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